Hindu- and Sikh-built structures, both secular and religious, depict some of the most remarkable mural paintings. The themes of these mural paintings are varied - ranging from representations of Sikh Gurus to Hindu deities. Apart from depictions of Sikh gurus and Hindu deities, the Potohar painters and poets also seemed to have focused on themes of the ‘Nayika’, the romantic heroine and her friends (Sakhis).
The Nayika theme appears to have greatly attracted both the painters and patrons of the arts who had them painted on the walls of their havelis and mansions. Some were also painted in the temples of Potohar, a majority of which have now disappeared. Those Nayika depictions which have survived show the typical Potohari or local influence. The Potohari painters portray a Nayika in different postures and moods. For the Potohari painters, mural paintings revolve around the love and dalliance between Radha as Nayika (heroine) and Krishna as Nayaka (hero) – which appears to have been a preferred theme for them as compared to the more mundane heroines and heroes of folk traditions. Radha has been favourite model for the role of a Nayika as depicted in Potohar havelis, temples and Samadhis. The Potohari painters’ focus was on Krishna’s divine beauty which made him the focus of the ardour of the gopis – cow-herders who are collective heroines (Nayikas) of that deity. However, Radha emerges as the supreme object of Krishna’s passionate love.
Nayikas have been classified by Indian writers according to moods arising from specific circumstances. Bharata has classified the Nayikas into different types in Sanskrit treatise Natya Shastra while Keshavdas, the author of Rasikapriya provided vivid images and subtle distinctions to identify the different characters of Nayaka and Nayikas.
In one of the mural paintings at the Hanuman temple of Katas Raj, Radha as a self-assured Nayika has complete attention of her beloved Krishna who is shown braiding her hair. Radha is holding a mirror and looking into it to see her hair being braided. This was one of the most remarkable depictions which was, unfortunately, destroyed when it was restored.
In one of the mural paintings at the Hanuman temple of Katas Raj, Radha as a self-assured Nayika has the complete attention of her beloved Krishna, who is shown braiding her hair
A mirror in the Nayika’s hand – be it Radha or a more mundane Nayika – also captured the attention of the Potohari painters, who painted it on the walls of temples and havelis. The best example can be seen in the Khem Sindh Bedi haveli at Kallar Syedan. The Nayika who holds a mirror is also called “Madanika Darpana”, and is depicted checking her own look in the mirror. Adornment plays an important role in the life of the Nayika. She adorns herself and awaits her beloved. She makes a final check in the mirror to see her appearance.
This depiction of the Nayika is found in the courtyard of Khem Sindh Bedi haveli. Another beautiful depiction of a lady checking her adornments in the mirror is painted in on a wall of Kalyan Das temple in the Kohati Bazaar in Rawalpindi. This is a depiction of “Shaaman Sakhi” as the inscription in Gurmukhi above the figure reads. “Shaaman Sakhi” means the romantic interest of Shyam. Krishna is called Shyam due to his dark complexion. Sakhis or Gopis, the cowherd girls, tried to win the heart of Krishna by adorning themselves with the best of clothes and jewelry. The Shaaman Sakhi depiction in the Kalyan Das temple is evidence of the idea that Krishna was the ‘Gopivallaba’, the beloved of gopis. Close to depiction of the Shaaman Sakhi is a painting of Krishna and his Sakha (friend) playing a tamboura.
There are four other depictions of gopis in the temple of Kalyan Das. Close to the two figures of gopis are depiction of Krishna.
Also painted on the walls of the courtyard are Nayikas and Sakhis in different moods. In one of the paintings, a Nayika is depicted awaiting her beloved. She holds a rose in her hand and has adorned herself with much jewelry. She has collected flowers and kept them in a pot and holds it to choose the one to give it to her beloved when she meets him.
Apart from many depictions of Nayikas and gopis in the Khem Singh Bedi haveli, there are some Nayika paintings in the Krishna temple at Kallar Syedan.
Apart from painting Krishna and gopis in the temples of Kalyan Das, Kallar Syedan and the haveli of Khem Singh Bedi, the Potohari artists also painted Laila as a Nayika in the Sikh and Hindu havelis. In fact, it is quite interesting to see the depiction of Laila in Sikh and Hindu havelis.
Some temples also depict the romance of Laila-Majnun in Potohar.
However, the best such depiction can be seen in a dilapidated haveli located northeast of the Ramachandra temple at Katas Raj.
The authorities concerned should convert the Khem Singh Bedi haveli into a museum to preserve the precious mural paintings which have already been defaced by students – as the structure was used as a school for some time. A majority of paintings of Sikh gurus have been defaced. However, the Nayika paintings are still in a good condition.
Potohari artists also painted Laila as a Nayika. In fact, it is quite interesting to see the depiction of Laila in Sikh and Hindu havelis
Nowhere else in Potohar can one find such remarkable mural paintings of Nayikas as in the Khem Singh Bedi haveli. They should be saved before they become history!
The writer is an anthropologist. He may be contacted at : zulfi04@hotmail.com. Excerpts have been taken from author’s forthcoming book “Reflections on the Potohar Heritage”.